Loose & Free Painting

(C) 2026 Dale DiMauro

It feels great to let loose and paint freely with no expectations. Just let the colors run and use bold strokes. This watercolor was painted with just two pigments: cadmium red and viridian. I think there is a lovely freshness with this approach if you don't overdue it and noodle areas with the brush.

You can see many of the great techniques watercolor has to offer in this picture: dry brush, spattering, misting, leaving the white of the paper and letting pigments blend on the paper, etc.

Plus, this painting was painted very fast.

My Palette

(C) 2026 Dale DiMauro

 

Palettes are a personal choice. I use four on a regular basis. One that folds down to a small size for painting outside or on the go. One that is metal with many paint wells and two ceramic palettes which I use at home. 

I find the metal palette drips fluid on occasion as it has tiny drainage holes which is really frustrating. However, it sits nicely in a butcher tray(11" x 15") so that problem has been mitigated.

Personally, I prefer the ceramic palettes as they don't leak and are easy to clean-up. However, they are fragile and difficult to transport. The other reason I prefer the ceramic palette is that they come with larger paint wells enabling me to use larger brushes for mixing paints.

The above photograph is of one of my ceramic palettes. You can see that there are less paint wells but they are larger. Over time with experience I have learned I don't need many paints to complete a painting, so this size is very useful.

In addition, I cut some styrofoam - like packing material(the dimensions of my palette) which sits under my palette making it easier and safer to glide around my table.

It can be a real challenge choosing a palette and then determining how you want to layout your colors. In the end like most artists I put cool pigmented colors along one side with warm pigments on the other side. For the top paint wells I use neutral colors or earth colors(ochres and umbers) with some exceptions.

Charles Sumner(1811-1874)

Over the course of the year I read many books. Many are non-fiction historical and others are art books. 

Recently, I finished reading Charles Sumner: Conscious of a Nation, by Zaakir Tameez a well-researched book, based on a significant political figure in American history that I knew virtually nothing about. He is perhaps, best known for suffering a brutal caning on the senate floor in 1856. 

Sumner was an American lawyer and statesman who represented Massachusetts in the United States Senate from 1851-1874. He grew up on Beacon Hill, in Boston, in a black neighborhood. Once he visited France and saw a society without slavery he immediately became an advocate for the abolition of slavery.

He became good friends with Frederick Douglas and Mary Lincoln while advising Abraham Lincoln. Sumner helped the Union win the Civil War. The author presents Sumner as a re-discovered founding father, constitutional visionary who helped re-write the post-Civil War Constitution and give birth to civil rights law.

As I concluded reading this book it has remained on my mind ever since. I wanted to complete a watercolor based on the photograph of Sumner on the cover of the book but I never got to it. So this my post for today - a history lesson.

Watercolor Study

   (C) 2026 Dale DiMauro

Recently, I joined The Brush & Palette Painters, a local group, which paints every Wednesday from 9:30(AM) - 12:00(PM) at the Brattleboro, VT, Gibson-Aiken Recreational Center, on Main Street.

I painted this picture while there, this morning. This was painted on a rough surfaced paper with a varied grain which makes for interesting washes for those willing to tackle something new. I believe this paper was manufactured in India. It was purchased from one of the major art retailers(such as Cheap Joes or Jerry's Artarama, etc.), though it was not acquired recently. 

In addition, this paper has a deckled edge which is a conversation unto itself. Simply put, a deckled edge is an irregular edge made when paper-manufacture's used a wooden frame, where a perfect square edge was not possible to produce. Many hand-made paper manufacturers produced paper with their own unique characteristics. 

Anyway, this is a view west across one of the Brattleboro Retreat fields. I received various comments from the group when they first saw this. One was that this landscape looked very different depending on which angle you were viewing this from. Another was that this foreground snow was the best 'dirty snow' she'd ever seen depicted. It has a 'sparkled quality', dry brush affect ,where the paint didn't reach the valleys of the paper.

It was interesting feedback and thought-provoking. However, I like how the paper doesn't seem to buckle and I tend to paint with a pretty wet brush.
 

Blue is the Theme

(C) 2026 Dale DiMauro

 

This is today's watercolor done inside with a group of other watercolor enthusiasts. This winter's snow has vanished or at least a majority of it. Thus, this is a memory of our winter. However, the sky was a dominant blue nearly every time I went cross- country skiing.

The apple tree in the foreground cast the deepest of the blue shadows. There is so much temperature when you paint with blue that the mood dominates the scene.

This photograph does not do justice to this watercolor. It makes the whole scene very moody. Actually, it looks like an evening scene on one of the coldest nights in winter. 

Man from the Protest

 

(C) Dale DiMauro

Protesting under the current Presidential Administration, for many people, has become a daily activity. It has slowly galvanized millions of people. With another 'No Kings Protest' coming up in less than two weeks, we are certain to see all kinds of characters come out of the woodwork.

After the Renee Good execution in January, there was a seemingly impromptu protest, in downtown Brattleboro, Vt. I took a photograph of this guy at the protest and ended up painting a very different landscape around him. It seemed he might be more comfortable in a more relaxed setting.

It is more important where you don't put paint then where you do. Those little unpainted areas help define the arm, neck and head areas, otherwise, the paint all runs into a blob. 

This is something I have learned from studying some of Charles Reid's (1937 - 2019) watercolors. As far as I am concerned, he was a master of the human figure. I admire how he used color and his freedom of expression.

Brattleboro Outing Club

 (C) 2026 Dale DiMauro

 

Even though it has been a cold and challenging winter in more ways than one, I am sad to see the cross-country ski season end. Today, I was hopeful and drove to the trails at the Brattleboro Outing Club to get one last ski in and found that they are closed.

To me it is more than just a ski. To strap on my skis, breathe the fresh air and experience the landscape  from a different perspective is vital to our existence. I get to see, feel and touch the patterns of light and snow which are shaped by the atmospheric affects specific to Brattleboro.

To that end, this watercolor captures some of the qualities I have experienced during my many adventures across the fields and woods of the Brattleboro Outing Club. 

It seems like every season the outing club gets better and better. The signage, trail names and campus map has become so professional in describing the characteristics of the club. Equally strong is the quality of the grooming and school instruction, etc.

Atmospheric Landscape

       (C) 2026 Dale DiMauro

Recently, I was painting a winter landscape here in Vermont and was searching for a dark to put down to represent the dense evergreens in the distance. However, I couldn't come up with a cool, dark that I was looking for. Yet, I had a vibrant, pool of rich earth-like greens on my palette. 

Regardless, I didn't want to waste this pool of pigment or let it evaporate from my palette. So I just started a new painting on the spot and that is what this is. I kept the paper wet longer where the vegetation is green so I could build up a greater foundation and have a softer appearance.

This is a painting unlike any other that I have produced. It has such an atmospheric quality which dominates the whole page. This reminds me of several locations along the coast of Bar Harbor, Maine in the summer, where the fog would move inland, while the tide is low. I have memories of seeing row boats, sail boats and the like, stranded on the mud flats and the strong smell of the sea percolating in these situations.  

This may seem like an odd little post but it is what it is. However, there is shimmering quality to this picture which captivates me.

 

Watercolor sketch

(C) 2026 Dale DiMauro

 

After a bigger snowstorm than expected, we had a gorgeous March day here in southern Vermont. Everything outside exposed to the elements ended up pretty wet, but in a good way. The fresh snow made the landscape new and exciting, like a new toy at Christmas.

I got a quick little cross-country ski in before heading off to an appointment. This little picture, is sort of, my postcard memory of the day.

The red top of this figure gliding along the open spaces and small trees was so captivating to see. The red itself commands the viewers attention like no other color.

(C) 2026 Dale DiMauro

 

Orange and blue radiates harmony or at least that's how I see it. I don't know how it actually came about - but I learned when you mix raw sienna with cadmium red you get this lovely juicy orange. And this pairs well with ultramarine blue if you have it somewhere in your picture.

Earlier this week that same pairing came up it a conversation I had with my wife. We were discussing where to hang some paintings in our living room when it seemed natural to hang a landscape with a sunset over a doorway with blue trim. This color combination seems to radiate in this location even though it is in a dimly lit location.

I am excited any time I can broaden my palette, simply with the colors I have. This makes me see the world in a different light - literally.

Winter Landscape

(C) 2026 Dale DiMauro

Cross-country skiing gets you out into the landscape through fields and woods you would not usually get to experience. Also, it makes you see the landscape in a different light.

The snow reveals the shapes of the shadows and makes the colors in the landscape glow.

I did this watercolor study based on a photograph I took when skiing earlier this week. The gradation and intensity of color was just mind-boggling.

Getting outside in the sun or on cloudy days, even for just fifteen minutes, is so worth it.

 

New Landscape

 (C) 2026 Dale DiMauro

 

This was a summer scene I came upon, late one day along the West River, here in Brattleboro, VT. The light was dramatic with the setting sun nestling into the darkness. The air was heavy and still, except for the squawking of some distant, stray birds.

This memory stayed with me until I put this down on paper. It's classic landscape - sky, water and vegetation wrapped up in regional identity.

I haven't painted on this thick Arches paper(300 lb cold press) in a while. However, I like that it doesn't buckle as much. Also, it gives me more time to work the pigments before the paint dries. This paper and weight is recommended for plein air painting. I have preferred using the 140lb Arches block but am considering trying the 300 lb paper for outside painting.

On the Common

(C) 2026 Dale DiMauro

The Brattleboro Common in Brattleboro, VT is a great location for gathering with other people to picnic or protest. In the Summer season it has great layers of canopy which make it a desirable spot to be to keep out of the sun on a hot day.

For me it is walking distance from home and has picnic tables which I can use to paint on. The other thing is the natural light is always changing which makes every experience at the Common unique in of itself.

I feel like I have a good start to this watercolor. The setting sunlight is captured on this woman sitting on a park bench in the lower right. It felt like such a strong and stunning composition I can't resist painting this subject matter. The shadows strengthen the overall scene.

 

(C) Dale DiMauro

 

Sometimes there isn't much time to paint but you squeeze in what you can. Actually, I am trying to view as much of the current Winter Olympics as I can. They go by so fast - I have made a commitment in the evenings to watch what I can. At the same time, I am trying to get whatever cross-country skiing I can before the snow disappears.

Nonetheless, I usually record any new color combinations I learn of, on a daily basis.  I tried out some of them here. The warm gray in the foreground I had not used before - it the combination of aureolin and winsor violet. Under the tree I used a lighter green - sap green and new gamboge which is a lively green when wet.

Lately, I have been re-discovering the value of a few paint brushes in my collection. Flat brushes are great for painting skies and horizontal bands(ie. fog etc.) above the horizon. For some reason which I am not sure why, I haven't been using them. 

The other brush I returned to using is the rigger brush, which I used to depict the edge of the foliage on the tree. It can make rather expressive marks on the paper and make your foliage come to life.

By the Water

(C) 2026 Dale DiMauro

 

It's good practice to paint everyday when possible. I always carry a little book around with me to record something that catches my eye or just to pause and create something. This practice keeps the mind focused and the drawing practice fluid.

I painted this yesterday amongst other watercolors I have been working on. The landscape itself is imaginary. The figure is an interpretation of me from a few summers ago while visiting the Clark Art Museum in Williamstown, MA., with my wife. I had been looking across the reflection pool they have. However, I like the more organic landscape which you see here. This is not a criticism of the Clark campus which is lovely and memorable.

In addition, I believe the touch of red in the sky, makes this image special if for no other reason. This reinforces the importance of experimentation when painting. This gives me something mentally to chew on in anticipation for when I next pick up a brush.

On the Sunny Side

(C) 2026 Dale DiMauro

 

Months ago this watercolor was started on my watercolor block. However, the landscape was not conceived or even developed at all. So it sat on my paper - until a few nights ago. 

After all the disturbing news this country develops, on a daily basis, -  I aimed to give this house a sunny disposition even if it looks of Caribbean influence. The vivid colors and lush foliage gives this landscape an exotic feel - in strong contrast with the cold snow-covered surroundings of southern Vermont.

I think preserving the white of the paper is critical is defining the various edges of paint from running into each other. I feel warmer and calmer just looking at this image.

Emily Sargent(1857 - 1936)

On a recent trip to the Museum of Fine Arts in Boston, MA, I was fortunate to be able to view: Winslow Homer: in Watercolor, amongst the crowded galleries. Homer's watercolors, on exhibit, had not been seen for over half a century, thus, marking the importance of this occasion.

However, before heading out for the day, it was revealed that Emily Sargent(1857 - 1936) had watercolors on exhibit in a gallery upstairs. Emily is the sister to John Singer Sargent, the well-known American portraitist. Neither John nor Emily married. However, they both painted extensively in watercolors, often on excursions with others, depending on where they were in the world.

In Emily's watercolor above, one can sense the shared subject matter between brother and sister and likely similar palette.

In 1998, 440 of her watercolors were discovered in a trunk in a family residence. Many of these watercolors were soon after donated to some of the greatest museums in the world(ie. Museum of Fine Arts in Boston, The Tate, The National Gallery of Art & The Metropolitan Museum of Arts amongst others). Credit: Wikipedia.

During her lifetime, her watercolors were only once known to have been exhibited.

Ultramarine Blue

(C) 2026 Dale DiMauro

 

Of all the rainbow of pigments I frequently run out of ultramarine blue. This color seems to evaporate from my palette. Often, I use this pigment in painting my skies on it's own and with other blues such as cobalt blue or cerulean. Also, I frequently use this pigment in depicting water and with other colors. 

Perhaps, it is even more valuable in mixing darks. One of my favorite combinations is to mix ultramarine blue with burnt sienna which makes a rich gray or lovely dark depending on the pigment ratio's. Another lovely dark I frequently use is ultramarine blue with burnt umber.

This is not to say I don't use other blues. There are so many out there. Some of my favorites are: Prussian blue, kings royal blue, ultramarine feinst, marine blue, peacock blue, verditer blue, horizon blue and phthalo blue.

When I use a limited palette, ultramarine blue often has to be included because it mixes well with other pigments and is useful in mixing greens.

New Landscape

(C) 2026 Dale DiMauro

 

In southern Vermont we have had cold nights and mounting snow not unlike major swaths of the country. All I have been doing for days is shoveling snow and organizing in preparation for working on my federal taxes. I do admit the snow we are receiving is beautiful and truly freshens up the landscape.

I did manage to squeeze in this watercolor between shifts of shoveling my driveway. The white of the paper really comes forward when all the washes are applied.

Winter fun is all around me. I am eager to take advantage of this deep snow. I haven't been on my snowshoes for some time. Plus, it is time to take out my cross-country skis in earnest. I have been on them once this year. However, it has been hard to know what the conditions will be as they have been ever-changing.

Cobalt Blue & Burnt Umber

                                                                                              (C) 2026 Dale DiMauro
 

Sand, water and stone makes a strong composition. There is a simplicity and timeless quality to these elements which is unmistakeable. The tide is generally coming in or going out. This watercolor was based  on a photograph I took along the coast of Maine.

This entire watercolor was painted with just two pigments: cobalt blue and burnt umber.  First, I painted a wash of cobalt blue over the paper. However, since this was a rough Arches watercolor paper some high points on the paper remained white, suggesting some sparkle from the sun.

Then I mixed both pigments to depict the sand color. After this I mixed the darkest value which is the rock-like color.

With experience I have learned to not fight the roughness of the paper if a paper has much texture to it's surface. After all, this is the strength of the painting surface. This picture was painted in one sitting.

I like the overall feel of this picture - it is very rhythmic and calming.